The Canadian melodic proggers end a two year hiatus with four tracks of what they call “contrapuntal technical prog rock”. Four tracks which follow their usual theme of environmentalism which question the lack of appreciation for our planet and how extraterrestrials observe and then back away – possibly scared off – by the violence and self destruction they observe.

Musically, the promise of melodic prog is pretty spot on although there are diversions which veer into a more contemporary direction with the title track evolving into indie pop moments and overall there’s a friendly AOR feel about proceedings. The edgier side comes in the form of ‘Fading’, a pacey rock based number although nothing staying over long, so there’s little in the form of indulgence despite the labelling or allowing the guitar or keyboards to dominate. As they often say, it’s all about making the song work but it would be interesting to see what Slyde would come up with given more free reign to experiment.

It’s a good time to be a progressive metal fan. We’ve already mentioned the momentum that seems to be possessing the sub-community, leading to many a masterful release in the past few years. However, the true mark of a scene in bloom is new artists; veterans reiterating on their craft, even if they reinvent themselves while doing so, isn’t quite enough. After all, Haken or Caligula’s Horse aren’t exactly new comers anymore; is there a next generation that might good on the promise of the past few years? How about Slyde? While Back Again isn’t their debut release, it’s an impressive step forward/return to form for these Canadian bright-eyed musicians and stands to solidify their name as one of the more promising ventures in the increasingly prolific progressive metal scene.The best thing about Slyde is that they drag progressive metal kicking and screaming into contemporary trends and ideas. Where Haken threwback with Affinity, Slyde look forward with Back Again. This four track release, really more of an EP than anything else, is filled with interesting melds between progressive metal, indie, pop and dance. Second track “Join the Parade” is a perfect example; while it’s dominated by the high-octave vocals that have become the Canadian scenes trademark (think Mandroid Echostar), the groovy guitar and bass lines are something which belongs more in a singer/songwriter or an indie context. And it’s fantastic; this approach works really well not only with the aforementioned vocals but also with the heavier guitar parts.To this already pleasing mix, add expressive backing synths and more dominant keyboards in general. Unisons abound aplenty but the synths also know how to rock out on their own, riding the groove waves set forth by the rest of the instruments. On the heavier track “Divide”, these elements lockstep to create a more traditionally progressive vibe, riffs and groove backed by synth overlay. However, listen as the verses channel pop-punk in their delivery, reminding us of Marmozets and their most recent release. This, coupled with the sweet synths lends the whole thing it’s sweet and upbeat quality.The last piece of the Slyde puzzle is the overall structure of the album. The four tracks represent an exploration of the influences we mentioned above, plus some mathrock and emo on the last track. Overall, it seems as if Back Again‘s purpose (especially prominent on the last track) is to explore the spaces left behind in the wake of Coheed and Cambria and Mandroid Echostar. Slyde double down on the role of indie, emo, and math rock found in those seminal bands and moves progressive metal closer to those places.The result is an album which benefits more from those splices, containing much of what’s to love about all genres involved. The clever structure, not too long and not too short, expertly arranged track by track, allows them to hope with agility between the different influences. Add pleasing production which accentuates everything that needs accentuating and the sheer amount of fun that Slyde are obviously having while playing this music, and you get an infections and happy album. Back Again is a great way to return; welcome back Slyde.____________________________________________________Back Again Album Reviewby Craig Hartranft @ DangerDog Music Reviews (UK)URL: http://www.dangerdog.com/2017-music-reviews/slyde-back-again.php#.WP-jNtzavcdPublished: February 1st 2017Grade: 8.5/10

Slyde is a Canadian quartet playing modern progressive rock. In the past, they have released two EPs, both conceptual in nature with themes regarding the earth, environmentalism, and the human condition. Being consistent once more, Slyde returns with their third concept EP, Back Again, with similar themes, but also with integration of an alien visitation, or better, observation. They're not happy with us.Generally, Slyde's progressive music turns on neo-classical underpinnings twisted with modern nuances. For the former, melody and harmony are not forgotten, neither is intrigue in arrangements and instrumentation. Solos from synths and guitar offer both interest and playfulness. Some may find the synths to be tinkering with old video game vibes. Additionally, guitarist Nathan Da Silva sings clean and melodic. But with the slight effeminate timbre of his voice, you might think keyboard player Sarah Westbrook is actually the lead vocalist. To the latter modern nuances, Slyde pursues more assertive and heavier riffage, and also more aggressive pacing, notable in Fading and Divide.To say something more about the songs, Join The Parade juxtaposes some of that assertive riffage with a smooth layer of keyboards and pop rock sensibility from a bouncing bass line. It might be the most "progish" song here. Alternatively, the title cut, Back Again, is driven mostly by melody and groove formed by the piano line, rhythm section, and vocal arrangement, notably the chorus. Essentially, it's a prog song in an AOR wrapper.Not having heard Slyde's previous EP, I wasn't sure what to expect. Suffice to say, with Back Again, Slyde is merely re-imagining classic progressive rock for the modern age. Both fans of Rush and Coheed and Cambria will enjoy this EP.____________________________________________________Back Again Album Reviewby Daniel Källmalm @ Hallowed (Sweden)URL: http://www.hallowed.se/english/music/reviews/2017/slyde-back_again.htmlPublished: February 14th 2017Grade: 5/7

Canadian band Slyde are back again with a new EP. It is an EP with a cover that has me thinking of some of their countrymen making similar music, it had me thinking of Rush for some reason. And that isn’t too far off the sound of this quartet who have released a quartet of EPs before this one and no albums so far. They are back after a two-year hiatus and it was four years since their latest release so they’ve had their fans waiting for a while. And it is not like they are offering up that much in terms of music either, this EP plays just short of 19 minutes divided on four tracks.Described as progressive protest rock if we combine some of the opinions I read, they are modern and progressive with a melodic and rather varied sound. It is also an EP with decent depth and I would describe it as sounding a bit Canadian. The production could have been better but it can still be described as pretty good, and the vocals are good. I think we can describe this as a competent quartet of musicians.Musicians that also has decent lyrics dealing with human nature and environmentalism in a sci-fi disguise and the story is a little about an alien race deciding against contact with humans due to the stupidity and violence of the human race. As far as I can understand, that is. I think that it great with bands who does think of lyrical concepts as well as the music and the melodies. And they do well on both those counts.I am not really a fan of the EP format, it is kind of like the short story when it comes to writing and that is just too little in terms of making a really strong impression. Nevertheless, in this case, though I would want more, it is still a strong quartet of songs, songs that I like. I can certainly say that Slyde makes the time it takes to play this little EP worthwhile.All four songs are really strong on this EP, the first and the last one are the highlights and they are great songs. It comes highly recommended, and I recommend that you spend some nineteen minutes on this great piece of music.____________________________________________________Back Again Album Reviewby MusicWaves (FR)URL: http://www.musicwaves.fr/frmReview.aspx?ID=15494&REF=SLYDE_Back-AgainPublished: February 7th 2017Grade: 3/5

Despite being an act that is still heavily planted in the vast rock n’ roll underground, Canadian prog suppliers Slyde are a band with an already extensive history. With releases dating all the way back to 2009, this four-piece from the north has spent upwards of eight years honing their craft of blending experimental compositions with accessible, sing-along melodies.Before embarking on a hiatus that started in 2015, they had shared the road with the likes of math metal mavens Protest the Hero and released two demos and three EPs. On 17th February, the comeback will be mounted as the motley crew of singer/guitarist Nathan Da Silva, keyboardist Sarah Westbrook, bassist Alberto Campuzano and drummer Brendan Soares return from their time away with the aptly-titled four-track collection, Back Again.The EP opens with its lead single “Fading” which, despite being easily the fastest track on the record thanks to its blend of exhilarating pace and a plethora of technical solos from the virtuoso Da Silva, brilliantly sets up the rest of the experience to follow. Da Silva’s incessantly melodic vocals almost instantly conjure forth throwbacks to Geddy Lee, Claudio Sanchez and a younger James LaBrie while the rhythms of Campuzano and Soares are much simpler than those of most progressive acts. This is by no means a criticism, as the perfectly integrated drums and bass of Back Again add a simplistic anchor that lets the EP draw in those that are uninitiated from the world of prog, or even rock in general. Combine this with short, radio-friendly song structures and even the most die-hard and immovable pop elitist could find something to love about Slyde.“Join the Parade” draws more emphasis to Slyde’s use of electronics and Westbrook’s keyboards to create a more industrial rock-inclined tone than its predecessor, while keeping the guitarwork hard-hitting and the melodies massive. Musically, the track sounds like a freakish hybrid of radio rock, Rush and Nothing More.“Divide” soars to life with the best individual riff of the entire EP, with deep guitar chords channelling the harmony, vitality and heaviness of old-school metal. The energy refuses to cease throughout the entire five-minute track. All the elements of the Slyde sound that have been established up to this point work together in perfect harmony in what is the strongest track of Back Again: the guitars, the harmonies, the lovable rhythms, the electronic backing, and even the seemingly out-of-place piano outro, which perfectly segues into the downbeat and emotive title track.The closer “Back Again” sees Slyde take a step back from the energised approach of the rest of the release that comes before it, sticking out like a sore thumb but doing so in the best possible way, causing listeners to question the abrupt change in style but, ultimately, applaud the sudden diversion and display of versatility. The vocals of Da Silva and the keyboards of Westbrook assume centre stage in this six-minute song, which goes on to continue to build upon itself, leading up to big backing vocals and, yes, even another proficient guitar solo.As Back Again draws on a close and it comes time to look back upon and evaluate this comparatively short record, it must be said that, for those who are less initiated when it comes to the realm of progressive rock, this EP is perfect. The combination of mainstream rock elements (the big vocal leads, the occasionally heavy riffs and the radio-friendly structuring) and progressive moments (the impressive soloing and integration of electronics and keyboards) certainly makes Back Again an ideal entry drug for the realm of the experimental. Show this to a fan of mainstream rock bands such as Biffy Clyro or AFI and they will more than likely be lulled into the adventurous world of Slyde quite easily.But, with that said, for veterans of the progressive world, this EP will not reinvent the wheel. It won’t tread into territory that has never been explored before; instead, it chooses to follow in the melodic footsteps of pioneers like Rush, albeit adding a more radio rock edge.Take this EP for what it is: a short, fun call-back that mixes classic prog with modern rock, succeeding fully in the process.____________________________________________________Back Again Album Reviewby Rich Dodgin @ All About The Rock (UK)URL: http://allabouttherock.co.uk/slyde-back-again/Published: January 2017Grade: 8/10

The melodic prog rock scene seems to be healthier than ever just now, with 2016 seeing some great releases from a number of up and coming bands. And I’m delighted to say that 2017 looks like it will be continuing in a similar vein, with a cracking start to the year with Back Again, the latest release from Canadian prog rockers Slyde.Back Again is a concept EP that “…explores the links between environmentalism and the wider world, with a sci-fi twist…” First track, ‘Fading‘ centres on the idea of extraterrestrial beings observing Earth and its civilization, but drawing back, due to humanity’s violent and destructive nature. It’s an intriguing idea and one that the music creates the perfect soundtrack for – it’s a fast moving, riff filled track, with impressive keyboard and guitar work all topped off by Nathan Da Silva‘s incredible vocals. The end result is a soundscape of soaring melodies that draws the listener in right from the start. Have a listen yourself to see exactly what I mean –

Second track, ‘Join The Parade‘, is a poppier, more catchy track. There are subtle industrial elements added to the mix, but the track maintains the same vibe and sound as the opener. ‘Divide‘ has a more traditional prog rock sound to it, and there are moments where the influences from the likes of Coheed and Cambria and Dream Theater can be heard – but that’s no bad thing, especially when Slyde have taken those influences onboard and then created their own distinct sound. The song writing and musicianship here is all first class, and show just how much this band has developed and refined their sound over the years.Final track, ‘Back Again‘ is a more melancholic number, with a soft, downbeat tempo that does a fantastic job of encapsulating the story being told. It’s thought provoking stuff that shows just how musically and lyrically mature Slyde are – and is the perfect end to the EP.Back Again is an incredible EP from a band that deserve to be huge – if you’re a fan of prog rock then you definitely need to check this out. I for one will be watching these guys eagerly to see what they do next. Awesome stuff !____________________________________________________Back Again Album Reviewby Man of Much Metal (UK)URL: https://manofmuchmetal.wordpress.com/2017/01/18/slyde-back-again-ep-review/Published: January 18th 2017Grade: 8/10

I don’t often review EPs, because I’m not generally a fan. I much prefer full-length albums because they offer much more value for money and give the listener a much better insight into the band and their musical vision. However, I do also accept that EPs offer new and up-and-coming artists the opportunity to showcase their art without the cost and other challenges that a full record can entail.And occasionally, I will be faced with an EP that simply cannot be ignored. That was the case here, with ‘Back Again’, the latest output from Canadian prog rockers Slyde.Slyde are a four-piece, comprised of guitarist/vocalist Nathan Da Silva, keyboardist Sarah Westbrook, bassist Alberto Campuzano and drummer Brendan Soares. Previously to this, I’d never heard of the name Slyde but when I read the press release that suggested they might appeal to fans of Haken, Coheed and Cambria and even compatriots Rush, I was both slightly sceptical and intrigued. But I needn’t have been sceptical because by and large, the comparisons are well-placed. Given their modest history, Slyde have a long way to go to sit alongside these illustrious names for sure. But you can certainly hear the similarities in style and execution even at this early stage in Slyde’s development.In true prog style, ‘Back Again’ is a concept, albeit a modest one spread across just four compositions. It apparently tackles the subject of ‘environmentalism and the wider world with a sci-fi twist’. Well why not hey?

For me though, it is the music itself which makes the biggest impression. From a first spin, I knew that Slyde showed real promise. But more than that, being just their third EP, I have been very impressed with their maturity, both in terms of their song writing and with their execution. ‘Back Again’ is a breath of fresh air as all four songs bounce along with spirit and confidence, not to mention a great blend of strong hooks, succinctness and technical ability which is evident but not rammed down our throats. Everything just sounds right, if that makes sense.If I had to pick a favourite track, it’d be the opener, ‘Fading’. Right from the off, the keys of Sarah Westbrook are prominent, as are the very pleasant lead vocals of Nathan Da Silva. The track bounds along at a nice pace led by the rhythm section of bassist Alberto Campuzano and drummer Brendan Soares, whilst the guitar work is both punchy and subtly intricate. But the melodies, particularly within the upbeat chorus are just a delight and extremely addictive.Having said that, all four tracks offer something of real merit. ‘Join The Parade’ is dominated by some lush synths and an impressive bass performance. I also like the funky almost jazzy vibe that it exudes at certain points. ‘Divide’ kicks off with a slightly darker, more confrontational vibe but again the melodies are strong as are the keys that create a more epic, cinematic feel whilst closing the song out with a gorgeous piano outro.The title track closes the EP and does so with real style. It is the longest song here and it is also the most expansive in terms of the sounds and textures that are explored, from quiet and simple to big, bold and multi-layered. There’s also a sense of positivity and euphoria that I glean from within the generally sombre and honest lyrics not to mention compelling guitar and keyboard solosUltimately, the best compliment I can pay Slyde is the fact that I wanted to hear more, much more. I want ‘Back Again’ to be a full-length album and I hope that this will be a reality in the not-too-distant future.____________________________________________________Back Again Album Reviewby NeoProg (FR)URL: https://neoprog.eu/chronique/slyde/back_againPublished: February 2017Grade: 2.5/5

Back to 2012 and New World Sympathy, the last EP from this progressive pop rock band out of Ontario, Canada was one of my Top 10 releases of the year. Sitting musically somewhere between Karnivool, Three and Fair to Midland and the pop-rock rush of Alien Ant Farm, it was an infectious set of songs with a political conscience that demanded repeat spins in the Read household.After too long an intermission, the quartet finally slides back onto the world's stage with the appropriately entitled Back Again. Offering four more adept examples of complex, concise songwriting, the EP could really be the New World Sympathy Part Two.The rhytms laid bare by Alberto Campuzano (bass) and Brendan Soares (drums) are complex and ever-changing (both add vocals too). The voice of frontman and guitarist Nathan Da Silva is superb, but the icing on the cake are the keyboard sounds, driven with video game intent by Sarah Westbrook. They're not complex, but clever and rather different.There a real fair and fluidity to the music of Slyde. It has the high-energy craftsmanship that many Canadian bands seem able to effortlessly ply: all finely tuned and honed via 150-plus live gigs.Following New World Sympathy, which tackled the oil industry and the injustices of mining companies, the new EP continues to explore the links between environmentalism and the wider world, with a sci-fi twist.That is especially the case with the opener. The fast-paced Fading is the twin brother of New World Sympathy (the track). Lyrically it glances at the possibility of extra-terrestrial beings observing Earth and its civilisation, but drawing back, due to humanity's violent and destructive nature. Musically it is bright and breezy, but with as big a crossover appeal as anything that Fair To Midland ever produced.Join The Parade is more circumspect; but only a little bit. The modern-day Rush and Coheed and Cambria influences come through on this track. The way the song evolves, and gains intensity in the second half, before almost coming to a stop with a stuttering, marching pace is similar to the excellent but sadly long-lost American band Dead Air Radio (check out 2007's Signal To Noise Ratio).Westbrook's keyboards add some great colour throughout Divide. This is great, stomping driving music, with a hook (or rather hooks) to raise the sprits of a post-Brexit europhile. I need a road trip! Another short, clever change of pace towards the end, works a treat.The final track shows a rather different style (which is always important). Back Again revolves around the Pale Blue Dot concept and the beauty of our world, which is often overlooked and uncherished by society. The pop sensitivity is highest here. The stompy beat is a little annoying, but as before, there are enough deviations to avoid anything souring such a wonderful piece of modern progressive rock composition. This track is also a great showcase for the emotive side of Da Silva's voice.Should Slyde ever produce another full album, I hope they will allow a few of their songs to stretch out (progress) a little bit. They have the playing and compositional skills to carry an eight or nine minute track, without loosing their catchiness. On an EP they can get away with four tracks of four minutes or so. An album would require greater depth.Anyway: the single Fading is out now. The full EP is to be released on 17 February 2017. The band has been active since 2009 and has three other albums. All are available with this EP from their Bandcamp page (samples link above). Go on: you know you want to! ____________________________________________________Back Again Album Reviewby Progressive Music Planet (US)URL: https://progressivemusicplanet.com/2017/01/13/slyde-back-again-ep/Published: January 13th 2017Grade: "Get back to me with a full length ;)"

Being totally unfamiliar with Slyde, I have to make comparisons to launch this review of the “Back Again” EP. “Fading” opens with metallic guitar chording reminiscent of Leprous, but then bust into double-time metal in the Coheed vein. I also hear other influences from power metal and 80s metal without obvious carbon-copies. This track has plenty of urgency, some great guitar leads and the opening synth solo is a nice addition. Proper vocal harmonies also compliment the energy. Great lead track.The bass tone and the slower odd-time signature are great features of “Join the Parade.” The vocals hit the range of Yes’ Jon Anderson and Rush’s Geddy Lee with more force. The B-section speeds things up with more syncopation between bass/guitar and the drums.“Divide” combines some ideas from tracks one and two. The dual guitar/synth lead is nice as is the B-section (another play from the Coheed playbook). Slyde has potential and hopefully this EP is just a hint at what they are able to write and perform. The guitar and keyboard interplay is an overall high-point for me but the length is too short to give this an official score.____________________________________________________Back Again Album Reviewby ProgRadar (UK)URL: http://www.progradar.org/index.php/2017/01/26/review-slyde-back-again-e-p-by-progradar/Published: January 26th 2017Grade: Positive

I have been listening to more laid back, contemplative music recently and really enjoyed some great folk music as well but, every now and again, you need something to blow the cobwebs away.An email came into Progradar Towers from my friend Matt Benton at Hold Tight PR…“After a two year hiatus, Canadian melodic proggers Slyde are back with their new EP ‘Back Again’. Four tracks of intricate, contrapuntal technical prog-rock, the band’s new release is set to land on February 17. For fans of Haken, Coheed and Cambria, Rush, Dream Theater, etc, Slyde‘s music is driven by the clean vocals of frontman Nathan Da Silva and the powering keyboards of Sarah Westbrook; a beguiling fourpiece with an impressive return to form.”Being a massive fan of Coheed and Cambria and Haken, that was enough to get me intrigued so I decided to delve into Slyde‘s new four track E.P. ‘Back Again’ and see whether the reality could live up to the promise.

A concept EP, ‘Back Again’ continues to explore the links between environmentalism and the wider world, with a sci-fi twist. Following 2011’s EP ‘Feed The Machine’, which discussed the cyclical pattern of civilization between ‘The Machine’ and ‘The Consciousness’, and 2012’s EP ‘New World Sympathy’, which tackled oil industry and the injustices of mining companies, the new EP ‘Back Again’ traces a similar theme. Lead track Fading centres on the idea of extraterrestrial beings observing Earth and its civilization, but drawing back, due to humanity’s violent and destructive nature. Similarly, the title track Back Againrevolves around the Pale Blue Dot concept and the beauty of our world, which is often overlooked and uncherished by society.Making up the rest of the band are Alberto Campuzano (bass guitar & backing vocals) and Brendan Soares (drums & backing vocals).

Fading gives no warning and no chance to catch your breath, the riff-heavy opening bars break into tight, if manic, and convoluted keyboard and guitar section before Nathan’s vocals join in and, yes, they do sound a lot like an early Coheed & Cambria but, trust me on this, that is no bad thing. Superb musicianship is at the fore here, just listen to the incredibly intense and intricate short-lived solo that rears up, incandescent and fiery before leaving you with seared eardrums. At times it almost verges on speed metal, such is the breakneck pace but it always has that progressive sensibility at the core. A visceral but incredibly enjoyable listening experience.A nice 80’s synth inspired intro opens Join The Parade, a track that adds a funky, jazz feeling vibe to the technical wizardry. I really like Nathan Da Silva’s vocal delivery, it has a really unique sound, quite high pitched, that really fits the music. The musicians have turned down the intensity from 10, but only maybe to 8, and the vibe is more relaxed but only like a Tiger is relaxed if you sedate it. Powerful and intense instrumental sections show that this Canadian four piece are ploughing a not inconsiderable furrow with this new E.P. and their prowess is undeniable but what takes it up another notch is the intelligent songwriting which is entirely evident on this impressive track.

A thunderously entertaining song, Divide hoves into view like some elemental behemoth with its forceful and energetic riffs and compelling drumbeats. Like the bastard offspring of a union between early Rush, Haken and Coheed & Cambria it consumes everything before it. The vocals are edgier and more authoritative and the brilliant interplay between keys and twin guitars on the solo in the middle of the track is genius. A track that is immediately accessible but has layers of intricacy, it really does demand repeated listens, just listen to the solemn piano led close out!The title track is a much more subtle and cultured affair, almost mainstream in its delivery. Back Again is more complex than it would first appear. Insightful lyrics and Nathan’s wistful and contemplative vocal give it a nostalgic feel. The staccato, slightly offbeat rhythm is a nice touch and , as you get further into the song, the music begins to remind me of Iris by The Goo Goo Dolls but with a lot more complexity. This song has layers and layers of impressive multiplicity from the energetic drums to the refined bass playing and it is all held together by the notably imposing guitar playing and Nathan’s signature vocals. A really sophisticated and refined ending to the E.P.Not just an epic heavy prog-fest, Slyde have delivered an intelligent and compelling 4-track E.P. that hints at much promise to come from this Canadian four piece. It’s on my i-pod for repeated listens and I can see it staying there for some time to come. ‘Back Again’ should be the catalyst that takes this impressive band on the next step to the recognition they truly deserve.____________________________________________________Back Again Album Reviewby Andy Thorley @ Maximum Volume Music (UK)URL: http://www.maximumvolumemusic.com/review-slyde-back-ep-2017/Published: February 13th 2017Grade: 8/10

If you have been hiatus for a couple of years, it is fair enough to call your comeback EP “Back Again”. Most bands would do something similar.

If you are a prog band, however, you might just want to make it four songs and a concept album about “the links between environmentalism and the wider world, with a sci-fi twist.”Oh and by the way, if you’re Slyde you can do all this in less than 20 minutes – or put another way about the same length as one Dream Theater song on the subject might be.“Back Again” is a brilliant – and completely accessible – piece of work. As we always say when it comes to concept records and the like, the thing only works if the songs are good. These four are better than good in honesty.“Fading” manages to sound grandiose in less than four minutes. And yes, Slyde are Canadian and yes Nathan Da Silva’s vocals do sound a touch like Geddy Lee’s but this isn’t a Rush covers in any way.“Join The Parade” has a more electro thing going on and is indicative of the wonderful keyboard work from Sarah Westbrook – who they use in innovative ways throughout.If that one has lush intentions, then Slyde can get their heads down and rock when they want to as well. “Divide” is a throbbing, meaty piece of work and comes in swinging, almost as if to prove that they can do whatever they like.The best is saved for last and the wonderful title track, which ties up all the different strands of this wonderful EP and makes for a wonderful song, hints that the next thing Slyde do could be absolutely incredible.That’s not to say that “Back Again” isn’t superb either, mind you. All you can say is: welcome back.____________________________________________________Back Again Album Reviewby Natalie Humphries @ SoundScape Magazine (UK)URL: http://www.soundscapemagazine.com/slydebackagain/Published: February 1st, 2017Grade: 9/10

Back Again is the energetic new EP from Slyde, which is their first release since a two-year hiatus and it’s a powerful listen that showcases the band on top form and stronger than ever.Although the chorus of opening track Fading sounds coincidentally similar to Jason Mraz’ song I’m Yours, it still kicks off the EP with a bang and it’s an enthusiastic start that I imagine would be a lot of fun to see live! The nice little complex guitar melody at the start draws you in and from then-on, you’re hooked as the band progresses through the track! From the confident vocals to the catchy electronic moments and ace guitar lines, the track really sells the band well and is the perfect opener for the EP as it will no-doubt appeal to new fans and long-term fans alike.The following two tracks are tremendous too, but the definite highlight of the EP comes with the title track Back Again, which winds up the release well. Beginning with a more stripped-back and raw-sounding approach, it lays the foundations well as the band progresses into a fuller and epic sound – and the chorus is such an earworm that you’ll surely be humming along to it for days after you first hear it!All in all, this is a great EP and one thing is for sure – I’ll definitely be coming back again for their next release!____________________________________________________Back Again Album Reviewby Dan Cooper @ Musicology (UK)URL: http://www.musicology.uk.com/slyde-back-again/Published: March 2nd, 2017Score: 7.5/10

For a band basically aping the poppier elements of progressive rock, Slyde are a hell of a lot of fun. Returning from a two year hiatus, the Canadian rockers are no strangers to their local rock scene as well as having had the opportunity to play with complex metallers Protest The Hero. So after two years of downtime, what do this group of technical-proggers have to offer you might be wondering? Well the answer to your question is latest effort and self-professed ‘concept EP’ Back Again, which the group have said “Explores the links between environmentalism and the wider world, with a sci-fi twist”. So with that question answered, we move onto the next question… Is Back Again a welcome return?

Fading – Galloping along at Iron Maiden-like pace, Fading opens things up and upon hearing vocalist Nathan Da Silva’s voice, it is clear he has hit upon a unique mix of Rush’s Geddy Lee and Coheed & Cambria’s Claudia Sanchez. As an opening track we get everything that makes the band such an interesting prospect in under 4 minutes as technical guitar riffs go head to head with video game-like keyboards to create a fun but frenzied assault.Join The Parade – The band hit upon a huge groove to start things out here and soon Da Silva makes his return spewing hooky harmonies over Sarah Westbrook’s synthy backing. It shows off one of the catchier choruses on the EP as well as ultizing a slap bass sound to give the track some extra funk.Divide – We start with an intro riff reminiscent of Reroute to Remain-era In Flames before another earworm chorus kicks in. Duelling guitars and keys fill out an action packed mid section before returning back to the chorus for what will surely be a live favorite full of singalong opportunities.Back Again – The title track takes things down a notch and offers the most progressive cut on the EP. The bands lyrics touch on the ‘Pale Blue Dot concept’ of Earth as a tiny speck in the vastness of space and Da Silva offers the main hookline of “We won’t be coming back again”, while the rest of the band fill the space behind him with sparse instrumentation. The track eventually explodes midway through with squalling solos from both Westbrook and Da Silva before coming full circle and winding down for the finale.For a relatively unknown band, Slyde have certainly learned enough from 2112 and In Keeping Secrets… to make a fun, technical and lyrically challenging record. Sure, Back Again isn’t a sound that will be unfamiliar to most modern prog metal fans but there is something about Slyde’s take on the genre, with it’s winding keys and compelling structures that make them something worth keeping an eye out for.____________________________________________________Back Again Album Reviewby Liam Savage @ Echoes and Dust (UK)URL: http://echoesanddust.com/2017/02/slyde-back-again/Published: February 23rd, 2017Grade: Mild

It seems to me like the prevalence of a plethora of prog bands coming out in recent years has increased to a mammoth degree. While there has been a substantial amount of incredibly satisfying releases to come out during that time, I’m also reminded by how many bands seem unfocused or lost in the pack.

Slyde shifts towards my latter interpretation unfortunately. And it isn’t for lack of trying or talent, but it’s just not as attention-getting as some other bands are these days.

On their EP ‘Back Again’, the band gives us four tracks in almost nineteen minutes. The shortness of the tracks initially worried me before I heard the music, but I figured maybe I was pre-judging a little too much and it might be possible that they packed a big punch into those song lengths that are usually much longer in the prog world.

‘Fading’ starts off the proceedings with a positive atmosphere with animated guitar and keyboards intertwined. It’s very feverish and well played, and it’s not a bad introduction to the band if I do say so. ‘Divide’ delivers a punchy burst with a bit of distortion and urgency in the sound, which makes this the best track on the EP for me. It’s short and sweet, but as the music fades out, a melancholy piano piece fades in to end the song, which seems a bit out of place. These two songs represented the best material for me on the release, and while the other songs were interesting in parts, it just wasn’t enough to hold my entire focus, even after repeated listens.Some quick notes from me are that the drums and bass seem to stay largely in the background, which is a big problem when I pay attention to the music as a whole. It presents itself alarmingly in the production of the EP, which provides no warmth in the sound. Also, vocalist Nathan Da Silva has a polished vocal style which doesn’t resonate with me. I think a more harsh and powerful voice may have complimented the band’s music more.And while it’s good to give prospective fans some band comparisons so they have an idea of where the music might take them, I’m not entirely sure why their bio mentioned that this group is for fans of Haken, Coheed and Cambria, Rush, and Dream Theater. Sure, in some senses they have prog elements which at times give subtle nods to the aforementioned bands, but that’s just it, subtle.At close to twenty minutes of music featured on this EP, I can hear certain aspects in the instrumentation that have potential and can go places, but it seems once an idea starts to take shape, the band move on to something else instead of letting the idea breathe. Maybe instead of focusing on the main layout of the song, they should let all the songwriting aspects flourish, and if that means a longer song length (no song makes it to the six-minute mark), then so be it. If the band is comparing themselves to some progressive metal and rock heavyweights, it would make sense that it would be reflected much more in the finished product.And let me be clear, the band can play. They have talent. But the problem for me is that while there were some bright spots, the sound was too formulaic for my liking. I think making a full album for their next release, with an emphasis on song development and more exciting passages would provide a more radiant, fulfilling, and overall memorable sound.____________________________________________________Back Again Album Reviewby Tom Donno @ RoomThirteen (UK)URL: http://roomthirteen.com/cd_reviews/13913/Slyde__Back_Again.htmlPublished: February 20th, 2017Grade: Mild-positive

When you look at Canada there are a fair few things they do better than anyone else. They've got their maple syrup, a glorious chest-beating national anthem even non-Canadians like to sing along to and a monopoly level control over ice hockey. Alongside these, they've also produced a fair few big name prog bands over the years with the godfathers in Rush standing at the top of the snowy mountain. Following the world-conquering power of Rush the country has subsequently become a haven for young prog bands simply following in their footsteps. Some of these end up giving the genre a boost by exploring new avenues whereas others fall a little short, feeling at times like 'Rush lite'. With the four-piece Slyde, for the most part they do tend to trail in to the latter of these, (but they're certainly one of the better ones towing that line). The band have returned after a short hiatus to produce Back Again, a four track EP which whilst being hard work at times, does contain some little hidden gems within the music (something that you only really become rewarded with through a series of repeat listens).

Opening track Fading immediately sets the tone for the rest of the EP. Yes we're fundamentally dealing with a hugely prog EP here but that doesn't mean the band have spent any time faffing around too much with soundscapes and five minute long intros. The challenge they've ultimately presented for themselves is the fact that as a prog band they're going to have to pack in a hell of a lot to keep this EP as succinct as it should be. Luckily for them they are a very talented bunch, and between the Rush style vocals, the space-rock sound effects and the energetic Coheed and Cambria level of energy they have been able to pack a bit of a punch.

Looking across all four of the tracks, whilst they're not shy of exploding in to some real catchy moments, you do get a sense that at least for the moment this one probably isn't going to spill out of the prog consuming masses. With those catchy, poppy, moments in mind though, if as an EP this was used to help the band try out new things and really grasp what does and doesn't feel right, then we're excited for what they could possibly deliver on a full album. Production wise it is good, but if their next step does end up being a full length release, there's something about it that just needs to be bigger and more grandiose. Don't ditch the space element, embrace it. There are also some aspects though which do need to be reconsidered a little - there are bursts on here where it feels like you're listening to the soundtrack of a Street Fighter game or anime film and whilst this is an element of their sound they seem to have fully taken on consciously, it does weaken it somewhat.

Overall then, this EP shows a promising return for the Canadians who have just come out of a two-year hiatus. The talent is undeniably there, as with most prog bands you listen to, you can tell they've seriously put in the hours, but it is an acquired taste which may well struggle to grasp the attention of a wider audience. ____________________________________________________New World Sympathy/Feed The Machine Album Reviewby Olav M Bjornsen @ ProgressoR.net (Norway)URL: http://www.progressor.net/review/slyde_2013.htmlPublished: July 2nd, 2014

Prolusion. The Canadian band SLYDE was formed back in 2009, and has released a number of EPs since they started. They also have two full-length albums to their name, one album that collected their initial EP with some material that was released in 2010, and now "New World Sympathy & Feed the Machine", a collection of their EPs from 2012 and 2011 respectively, which was released on CD in 2013.

Analysis. As far as progressive rock goes, Slyde is a band that many will see residing at the very outer edge of this universe as far their particular style goes. You won't find many pointers back to the golden age of progressive rock on this production, if any, nor will you find an extensive amount of similarities to progressive metal either. That the music tends to be energetic, melodic and with certain anthem qualities to it will also disqualify the band from a progressive rock point of view in the eyes of many. The key issue here is to place them within the correct context, as Slyde belongs to a category of bands that have fans both inside of and outside of the progressive rock universe. Vibrant but dampened staccato riff barrages with distinct melodic orientation in energetic and pacey compositions summarize the dominant aspects of Slyde's music fairly well. As far as progressive rock is concerned, we also have sudden shifts to acoustic oriented passages as part of the proceedings, often with acoustic guitars and lead vocals as the key or even sole details in those, this structural effect adding a progressive sheen to the proceedings. When the riff-based excursions feature delicate piano motifs as a light toned, frail contrast to the driving intensity of the guitars, or the band’s highly distinct synth textures, with a sound and expression that probably reveal a certain passion for playing computer and video games, we're also dealing with a band that has a bit more going for it than a generic alternative rock band. As a Canadian band, certain similarities to old heroes Rush doesn't come as a surprise here, although the references to this influential trio are occasional and subtle at best. But when pondering upon artists with a similar style, one name that popped into my head fairly often was The Mars Volta. While I'm not an expert in this particular part of the progressive rock universe, I suspect that the overall intensity and – to some extent – the light toned, melodic lead vocals of Slyde may be the parts that have the strongest similarities to this quirky US band. As Coheed And Cambria is a stated influence by Slyde itself, I suspect that they are a much more important pointer as far as style and expression go, and in one specific song, Lies, adding Muse to the name dropping department here appears to be a logical choice as well. Energetic, melodic and catchy progressive rock it is then, with references towards the alternative rock inspired parts of the progressive rock universe as far as possible sources of inspiration go. And personally I think Slyde is a very good band as far as this type of music goes. The songs tend to be on the short side, which helps maintain momentum, but even so this is an album that manages to grab and maintain interest very well indeed. The performances are tight and well mapped out. I suspect, this is one of the old fashioned bands that, at least to some extent, try out material on an audience before recording it, but even if this isn't the case this is a collection of songs that come across as well developed.

Conclusion. Slyde explores a type of progressive rock that appears to be inspired by bands just as much connected to alternative rock as to progressive rock as such, with bands like The Mars Volta, Coheed And Cambria and Muse as likely sources of inspiration. Slyde's take on this type of music is accessible, energetic and melodic, with singalong qualities and a feeling that the potential audience for this band is a well-sized one. An album easy to recommend to those who enjoy accessible music that blends alternative rock and progressive rock in a high energy, melodic package, and I suspect that fans of bands like Muse and Coheed And Cambria in particular should enjoy this album.____________________________________________________New World Sympathy/Feed The Machine Album Reviewby Pedro Bekkers @ Background Magazine (Netherlands)URL: http://www.backgroundmagazine.nl/CDReviews/SlydeNewWorldSympathyFeedTheMachine.htmlPublished: June 2014

Slyde are a Canadian band inspired by European melodic metal, Japanese video game music and rock. The band's performances already made name, although they promote themselves without the mediation of a record company, which deserves a compliment in my opinion. Slyde consist of Nathan Da Silva (guitarist, vocalist), Sarah Westbrook (keyboards, samplers), Nicholas Favretto (bass) and Brendan Soares (drummer). The lyrics of their songs reflect today's society. Basically this album is a compilation of the two previously released EPs Feed The Machine (2011) and New World Sympathy (2012).

I have taken the first sentence of this review from the information sheet, and since I'm not familiar with video game music whatsoever, I was curious to find out what kind of music I was going to listen to. Well, it appeared to be a strong kind of modern rock that tends towards the musical style of Karnivool, mixed with progressive elements and plenty of room for impressive guitar and keyboard parts. I'm quite sure that many people who play Japanese video games will find some connections with this music, but I have to admit that I didn't recognize it at all.

New World Sympathy is an accessible mini-album containing four compositions that show how they have grown musically compared to the music that was recorded a year earlier on Feed The Machine. Da Silva has a very pleasant voice to listen to and the seemingly easy guitar and keyboard passages are perfectly balanced. Lies, the final composition of this EP, starts as an electronic kind of Muse piece, but it changes into a powerful protest against the government. The vocals are heavier and darker and hopefully this song is an indication of the path Slyde are going to follow in the future. The remaining eight compositions differ from the others by a brighter atmosphere and while listening attentively, I noticed a difference in singing.

However, the second EP Feed The Machine is worthwhile either; it holds two short atmospheric instrumental parts and numerous solo spots for the guitar and Sarah Westbrook's amazing keyboard sounds. I would recommend all prog rock devotees to listen to her playing; she's really excellent. Listen for instance to the album's final song Lament's Reprise and you'll know what I mean. This release shows how a band can evolve.

It's a bit of a shame that these two EPs didn't appear in reverse order. I think it would have been better to listen to Feed The Machine first and then continue with New World Sympathy, which contains the more impressive music. It would provide a better understanding of how these musicians have developed. Nevertheless, I was impressed by Slyde's modern rock larded with progressive elements. I sincerely hope that some record companies will knock at their door to provide worldwide promotion. They have a lot of potential and I think we'll hear more from this band in the near future.____________________________________________________Slyde celebrates five years of music with a Cornwall showby Jason Setnyk, The SeekerURL: theseeker.ca/newsite/slyde-celebrates-five-years-music-cornwall-show/6870/Published: January 28th 2014

Slyde is a Toronto based rock-band, that has Cornwall Ontario roots. Lead singer and guitarist Nathan Da Silva who is from the area spoke with the Seeker about the band celebrating its five year anniversary this past weekend. “Even though we’ve been a band for five years, we feel like we’re just getting started. After playing 150+ shows and releasing 4 EPs, we still have a lot of ground to cover in the big picture, and we have some big plans for 2014-2015″, says Da Silva.

He and the band traveled from Toronto to Cornwall and faced winter stormy weather on the highway just to play the 5th Anniversary gig on Saturday night. It was well worth the trip, as the band played to a full house at La Maison Tavern.

“It’s always a great time at La Maison for Slyde. We have some dedicated fans and hometown friends who know how to have a good time in Cornwall, so it’s always a pleasure for us to come back and rock”, explains Da Silva.____________________________________________________New World Sympathy/Feed The Machine Album Review [French]by Olivium @ Progressive-Area.com (France)URL: http://www.progressive-area.com/index.php?option=com_content&task=view&id=3126&Itemid=2Published: January 23rd, 2014

The Canadian rock band Slyde formed in 2009 and released Feed The Machine in 2011 and New World Sympathy in 2012. This year they have released both albums on a single disc, the subject of this review.

The band consists of Nathan Da Silva (guitar, voice), Sarah Westbrook (keyboards, samples, piano, voice), Nicholas Favretto (bass guitar) and Brendan Soares (drums, voice). Listening to this for the first time one thing became very clear; these guys know how to write catchy tunes. There are earworms all over this album and the musicianship is solid as well.

The pop/rock sound of the first track "New World Sympathy" is what you can expect; fast rhythms, nice guitar/keyboard interplay and solid vocals. "Take Us Away" is a little more metal but still very catchy while "The Downward Spiral/Save Us From Ourselves" is a quieter tune with pretty acoustic arpeggios and piano passages. There are some heavier parts interspersed in the mix which reminded me of the Swedish band A.C.T. The pop/rock concoction "Lies" is another melodic slice of goodness, again with an A.C.T vibe. "Lament" is a pretty acoustic ballad while the short instrumental "Meditate" is another mellow track with gentle acoustic rhythms and softer shades of keys. The album again picks up the pace with "Pull The Trigger", all fast rhythms of guitar and synths. I found this album to be a surprisingly good listen. If prog tinged melodic pop/rock and super catchy riffs float your boat you should find plenty to like here.____________________________________________________New World Sympathy/Feed The Machine Album Review [Italian]by Arlequins, arlequins.itURL: http://www.arlequins.it/pagine/articoli/alfa/corpo.asp?ch=5532Published: January 2nd, 2014

Slyde is a hard-rocking and equally hard-working, self-promoted prog/metal band from Canada which has been carpet-bombing the Canadian bar and festival circuit since 2009 with their brand of high-energy head banging music. Over the course of their career the band has performed at the Ottawa Bluesfest (2010/2011), Ottawa's Friends for Peace (2012), Toronto's IndieWeek (2011/2012), Canadian Music Week (2013), Cornwall's Arts In The Park (2012), Maxville's The Edge (2012), and Brockville's Riverfest (2011); as well as any club or bar in Canada with a stage large enough to contain them and the good sense to book them. Their intricate high octane music is comparable to bands like Enchant, Shadow Gallery, Symphony X, Threshold, and Dream Theater with the light-speed fretboard gymnastics of guitarist Nathan Da Silva and the amazing keyboardist Sarah Westbrook . Rounding out the solid backbone of the band are Nicholas Favretto (bass guitar) and Brendan Soares (drums).

The lead and backing vocals from Da Silva, Westbrook, and Soares are top notch - something that can make or break a prog/metal band for me. There is nothing as unappealing as a caterwauling heavy metal vocalist either screaming at the top of his lungs or a growling like some savage beast at feeding time. Thankfully Nathan Da Silva possesses a certain Freddy Mercury quality to his voice.

The lyrics touch on such dark and disturbing topics as political and environmental issues, social consciousness, and the future of humanity. As well as the positive message of spiritual awakening.

"New World Sympathy/Feed The Machine" brings together their two previously released EPs onto one disc.

The hook-laden tracks are loud, aggressive, and tightly constructed, with unexpected head-spinning tempo changes. Everything you want from a prog/metal band and more.

New World Sympathy is the latest release, and four song EP, from Toronto prog rock act Slyde. This is an interesting disc for sure and successfully melds tight, technical riffs and soaring melodic vocals with Japanese video game music. I know it sounds a bit odd, it did to me at first too, but once you actually give it a listen I think you'll be as impressed as I was. The band's sound works well and definitely is "their own".

As one might expect from any prog rock record worth listening to, this disc is loaded with fretboard wizardry, unexpected tempo changes, and lots of catchy melodies. The thing I like most about the album though is the restrain the band uses as well. It's absolutely clear they know their way around their instruments and I am sure they could have easily overdone the technicality on these tracks, but they didn't! These songs are tastefully crafted and don't feel like they're merely vehicles for endless shredding. At the end of the day I enjoyed listening to this EP, and while not a huge fan of the genre, I can totally appreciate what Slyde have done. 6.6/10____________________________________________________Slyde - New World Sympathy album reviewby Gallifrey; The 10th Doctor Of Prog, rateyourmusic.comURL: http://rateyourmusic.com/review?id=50858566Published: August 4th 2013

The Bridge Between Prog And Punk

“Progressive Punk”

Sounds surreal, doesn’t it. It’s an odd idea, that the two most idealistically and sonically opposite forms of rock music could merge as one. When punk first emerged in the late seventies, I’m surprised they didn’t dub it ‘regressive rock’, since it was essentially a regression from the complex arrangements of the progressive movement to 3-chord, 4/4, repetitive-but-catchy music made by kids in their garages. It wasn’t meant to be for jazz nuts that sit in their basements masturbating to Zappa, it was meant to be fun, fast and furious, and that it was. Much to the devastation of all the prog aficionados at the time, punk quickly rose to the mainstream, driving out any remaining Genesis fans until the 80’s in which it was in full swing. Although both genres have gone in and out of style since their inceptions, for some strange reason no one has ever properly thought about combining them.

It’s like there’s some lifelong prejudice between fans of each that makes it impossible to even think about pulling them together. Although a couple bands like Coheed and Cambria and The Mars Volta have mixed prog with post-hardcore (which isn’t really punk), and Cardiacs do it to a certain extent, but it’s not really the prog-punk I’m looking for. In my opinion, Green Day’s “Jesus Of Suburbia”, the 9-minute pop punk explosion from 2004’s American Idiot has actually come the closest to what I would call “Progressive Punk”, but even then it’s hardly complex instrumentally. It seems progressive artists are too high up in their tree of “we’re better than you because solos and polyrhythms” and punk artists are off on the other side of the field not caring about them and having fun. Punk is too busy being repetitive to think about being musically interesting, and Prog is too busy being holier-than-thou to think about actually making a good fun song rather than a mathematical equation.

If anyone asks me where the next big scene is coming from, I’ll always answer with Progressive Punk. It just has to be. It’s not as if they’re mutually exclusive at all, despite what many think, and when two things have been sitting around for long enough, eventually someone’s going to try and morph them. In recent years, it’s been steadily growing, with the aforementioned Coheed and Cambria leading the charge, although I’ve never really considered them very prog (or very punk for that matter), and other bands such as Circa Survive and Children of Nova have strayed from post-hardcore into more experimental fields. But there’s still a long way to come.

Slyde’s 2012 EP, New World Sympathy, really is quite an example though. If I were to tell you that this barely-known Canadian band combines Prog with Punk with Metal with Electronic without sounding terrible, you’d probably think I’m having a laugh, but they really have. This short 4-track EP was one of the many free download releases I picked up from bandcamp, but one of the very few that were actually good. In fact, this isn’t just good, it’s excellent.

On the first listen of New World Sympathy, you hear a bunch of kids having an insane amount of fun. The music’s upbeat, the vocals are catchy, and it just has an indescribable energy flowing through the entire piece. This is the core of every punk band. You think, when forming a punk band, the kids go “hey, I want to be the best guitarist in the whole world and play at 700BPM and write the greatest album of my generation”? No, they just want to smash things and sing about how much they hate everything, and that’s what Slyde do here. I’ll get to the lyrics later, but they really are the epitome of angst against everything.

But that’s just the exterior. When I first heard this, I too failed to hear the prog, but it’s when you focus on the instruments. They are insanely tight, the riffs are well placed, and they’re actually riffs, not the generic power chord chugging that bludgeons most pop punk. There are solos that fit well and are musically proficient, and during “The Downward Spiral”, the band show proficiency at holding together some odd signatures, especially the verse one of 29/4 (three bars of 7, one of 8), while still keeping the energy and cohesiveness which a lot of prog bands lose when they go full time signatures. Slyde keep this together along with influences from both metal and electronic, including what is actually a cross between a dubstep and metal breakdown during the phenomenal closing track, “Lies”. I am usually skeptical of breakdowns, especially metal ones, and very, very skeptical of dubstep wobbles in rock music (looking at you, Bellamy), but this is…. well, it’s awesome. I’ve never really said that about anything, but the breakdown in “Lies” is one of the most furiously awesome segments from the last few years of music. And the way it transitions seamlessly back into melodic complaining about the government is wondrous.

Another ace up the sleeve of these Canadian boys is their vocalist, Nathan DaSilva, who has the most ridiculously high range I have ever heard. Slyde released an instrumental version of the EP a few months after its release, and me in my naivety decided to do a couple of attempts at the vocals, before discovering I can sing the entire EP a full octave below, and it’s still in the top half of my range. His range isn’t just what’s great about the vocals; his keen eye for a solid vocal hook is throughout almost every song, especially the last two.

But then there’s that one thing that just kind of isn’t as good as the rest. And yes, it’s the lyrics. New World Sympathy has some of the most ridiculous leftist lyrics I have ever heard, even going so far as to use the words “demonocracy” and “1%” without any shade of irony based on the fact that they’re from Canada. Two years ago, when I was a politically oblivious leftist, I would have loved these, but after some experience and the lesson that politics is stupid from all angles, I really do think these lyrics are quite childish and it makes the otherwise great music seem childish. God knows my friends and I chant the lyrics to “Lies” with full irony to the fact that we are capitalist snobs, just for a bit of a laugh. And that’s what these lyrics are, laughable. I understand that Slyde are trying to spread a message to the world through music, but when you have lyrics like these, you start to sound like a whining little kid who hasn’t been given enough cake.

But enough laughing at the lyrics, because this is quite possibly the greatest thing I have heard from the underground in a while, at least in North America. Slyde have nailed a style many deny exists, and done it with true flair. I really hope this band picks up, since they are one of the current unsung talents of this earth.

This Friday, August 2nd GAIN Music and KronikNoise will host “Rock Extravaganza” at the A.N.A.F Club in Guelph. One of the bands on the bill is Toronto/Ottawa-based progressive metal band Slyde. But trying to pin one musical genre on Slyde is impossible. The band has a very unique sound that is entirely their own. They’re a combination high-energy, hair-swinging metal act blended with pop-y electronic keyboard sounds and some serious lyrical inspiration – and even then, that’s too simplifying. We reached out to Nathan Da Silva (vocalist/guitarist) and Sarah Westbrook (keyboardist) to bring you this Q&A to learn a bit more about the band and their unique sound. You’ll definitely want to check out their show on August 2nd and see what these guys have to offer, as trying to describe Slyde is best left for the band to show you themselves!

ML: Can you give us a brief history of the band and how it was formed?

ND: The band was formed in 2009, but our current lineup was formed in early 2011. Before 2011, we released two self-titled demos in 2009 and 2010, where we were still trying to find our sound and experiment with styles and sounds within the progressive, metal, and popular idioms of music. Our latest two records, FeedTheMachine (2011) and NewWorldSympathy (2012), really helped us grow and evolve into the sound that we currently have. We’ve been 100 per cent independent since day one, self-booking and self-promoting our own shows and tours, with almost 150 gigs under our belts. We’ve shared the stage with many genres and played some awesome shows! Slyde is: Nathan Da Silva (guitar/vocals), Sarah Westbrook (keyboards), Nicholas Favretto (bass guitar) and Brendan Soares (drums, vocals).

ML: Your latest EP NewWorldSympathy was released about a year ago. How would you say it compares to your previous records?

ND: I think NewWorldSympathy is definitely a lot darker and heavier than our previous records before it, and much more in your face lyrically. FeedTheMachine as an album was a little more metaphorical, but when you listen to the song “Lies” off of NewWorldSympathy, you know exactly what we’re singing about. We also wanted to focus more on making the instrumentation a little more technical on NewWorldSympathy,more solos, more intricacies in the playing, and more badassery all around.

ML: What are the band’s plans for future recordings – is there a new EP or album in the works?

ND: We are working on new material for our new album, although when, where and how we record that next album in still to be determined. We’ve always released an EP every year since 2009, but since we’re skipping out on a 2013 release, we’ll be doing something extra to make up for it in 2014. Stylistically it’s in a similar vein as NewWorldSympathy, naturally, but we’re finding ways to make our next project one-up our previous efforts.

ML: The combination of the sometimes bubbly sounds of the keyboard and the heavier progressive riffs in your music is pretty unique. When putting the band together, did you aim to create this kind of sound, or was it something that sort of developed over time?

SW: The Slyde soundscape included keyboards from the beginning. The keyboard is able to take on different roles: solos with the guitar, comping with not just piano sounds but with altered strings sounds while simultaneously carrying the lead riffage on another keyboard. It also adds another dimension to bass riffs, and of course, arpeggiators and samples create even more uniqueness to the sound we are looking to create.

ML: Your lyrics often deal with political/environmental/social issues. Can you speak about why/how this came to be?

SW: We are not experts in politics; we are musicians and we live our lives that way. Some people say Art reflects Life, and yes, to some degree, what we see in life is reflected in our music. Oscar Wilde’s idea that “Life imitates Art far more than Art imitates Life” is, we feel, more appropriate in Slyde’s case. Music is the medium we use to express our love for life, our anger about why and who has power over our lives, our fears about what will happen in the near future, and everything else we feel strongly about. We hope that the mainstream listeners that have never heard lyrics like ours will hear something eventually, and also agree with our sentiments. We do not imitate to create and probably this may be why we are not exactly a radio-friendly band. Many people say that because of our style, we are trying to create a market where there isn’t one. When Brendan joined Slyde, he was studying International Development in school and traveling to see how other parts of the world lived. He saw how Canadian mining companies were affecting indigenous communities, and experienced this first hand when traveling to Sibuyan Island – a remote island in The Philippines – and witnessed the severity and pain that these people were dealing with. I also studied with ecologist Dr. Ian Prattis and was very affected by his course. FeedtheMachine was based on his writings. Generally, on a daily basis, we see apathy amongst our generation and younger ones. Apathy and mindless consumerism feeds the larger system at work, one that is controlled by financial greed and lust for money. This will not end well for any of us, so why not give a shit? We try to get people to think (and get enraged) about the careless treatment of the earth in order to make ridiculous amounts of money for the select few on the planet. When you become aware that right now is a very important time in human “progress”, how can you not write about it?

ML: Are any of you involved in other musical projects?

ND: As musicians, you’re always finding ways to stay busy and active, and collaborating with other artists is common. I am currently working with an Ottawa-based band called Ilvekyo, and I work as a cover musician in solo, duo, and full band settings. I also occasionally perform with Franco-Ontarian artist Paul Demers. Nicholas (Slyde bassist) plays with Montreal-based band Règlement 17. Brendan (Slyde drummer) performs with Toronto artist Justin Dubé – both of them used to be in the established independent pop rock band Everlea. Sarah collaborates with numerous classical singers, instrumentalists and choirs. The last choir she performed with was the Iranian National Choir for 2013 Tirgan Festival.

ML: You’ve done quite a bit of touring in Southern Ontario – where do you hope to branch out to next?

SW: We’ve been all over Ontario, Quebec, and visited the Maritimes a couple summers ago. We are currently looking for some support from the industry to help us reach out to new markets, particularly the European and Asian markets.

ML: For anyone who has never seen you live, what would you say to expect at a Slyde show?

SW: Expect nothing and keep an open mind. But be prepared to rock out – hard. We are a very high-energy band.

ML: You guys were recently involved in the Wacken Metal Battle Canada – a competition for a chance to play at the Wacken Open Air festival, which is a massive annual metal event attended by roughly 80,000 people. Can you tell us a bit about what that experience was like?

SW: It was a fantastic crowd of people to play to. Although we were very different from the other metal bands, we were happy to be chosen to perform to this audience and they seemed to love having us play for them.

ML: You’ve said that your music is partly inspired by video games from the 80s and 90s. Are any of you gamers, and if so, what are your favourite titles?

ND: I grew up playing NES and SNES games so it was difficult to not be inspired by the amazing music that accompanied these games. Some notable titles with influential music for me were the FinalFantasy series, ChronoTrigger, the MegaMan series, and the Castlevania series.

ML: If you had the power to change just one problem in the world, what would it be?

"We’re Slyde from down the street” – said Nathan Da Silva as he opened the show. Slyde offered something much different than the rest of the bands, they’re more complex, plus they have have different influences. At any rate, Slyde played an excellent, dynamic set hitting choice songs from “New World Sympathy”, as well as the over the top “Lies”. Furthermore, the band added a new song “World So Blind”. The prog metal band once again delivered the goods at Wacken Battle. I think Germans will love this band but Slyde sadly did not win this time although the crowd immediately came to life as the band provided the capstone to a near perfect evening of metal.____________________________________________________Wacken Metal Battle Canada – Qualifying Round Five Toronto – WinnersDarrell Shelley; Giancarlo Cortez, The Scene MagazineURL: www.thescenemagazine.ca/wacken-metal-battle-canada-round-five-toronto-winners-2/Published: May 28th 2013

Tonight’s winners were clear as day, Slyde really came in and shocked us with how professional and prepared they sounded! They reached some other level and made a big impression on the judges. The thing that stands out about Nathan Da Silva (voice/guitar) is that he played with such joy, it was really engaging. Drummer Brendan Soares played with real intensity, direction and power. While Nicholas Favretto was very engaging as well. The music is sort of like Soilwork crossed with Porcupine Tree and some crazy 70s prog (Rush, Yes, Mahavishnu Orchestra) . I just cannot believe their music video for “New World Sympathy” has less than a 1000 views on Youtube while these guys actually could go on tour with Dream Theater tomorrow. Let’s not forget about Sarah Westbrook bombastic keyboard playing (especially in the song “Lies”). Slyde were very tight and brought in a good crowd, and even people who were there for heavier bands got sucked into clapping along. This Toronto based band will be at the semifinals.____________________________________________________Slyde: A Canadian progressive rock band that speaks out against social injusticeLisa Monozlai, JustRights Radio, CIUTURL: http://justrightsradio.com/2013/03/18/slydeinterview/Published: March 18th, 2013

Slyde is a Canadian fusion of high-energy hard rock, Japanese video game synth sounds and European melodic metal. They are known for their confrontational, uncompromising energy that resonates with you long after you first hear their explosive guitar riffs. Slyde’s most recent album, New World Sympathy, contains turbulent, angst-ridden sounds; their lyricism is provocatively political and environmental as they denounce complacency and remind their fans of current social injustices and movements, such as Occupy, Line 9 and the Keystone XL Pipeline. Slyde’s music is contemporary Canadian hard-hitting protest rock at its finest—they’re loud, progressive and sound like a riot. Just Rights Radio interviewed Slyde to talk about their most recent album, New World Sympathy, and the relationship between rock music, political/ environmental issues, and social justice advocacy. We talked about the challenges a progressive, protest band faces in the music industry, and how to find the balance between being a passionate musician and a socially conscious songwriter. Slyde is playing at Cherry Cola’s on Wednesday March 20, 2013, for Canadian Music Week. You can download Slyde’s album on bandcamp for however much you’re willing to pay.____________________________________________________Say Hello To...Slyde - Video InterviewBrian Banks, musicvice.comURL: http://www.musicvice.com/interviews/say-hello-to-slyde-160112Published: January 16th, 2012

Ottawa, Ontario based metal band Slyde first came to our attention when they played Indie Week music festival back in October last year. With their flying V’s, windmills and ridiculous arpeggios, the band made a big first impression. Three months later, and with half the band now relocated to Toronto, Music Vice caught up with Slyde during their January mini-tour of southern Ontario. Taking their musical inspirations from European melodic metal bands such as Soilwork, prog rock and video game music of 80s and 90s, while throwing political lyrics and ridiculous arpeggios, Slyde offer something a bit different to the current rock scene in Canada.

My first thought of Slyde was that they seemed to me to be straight out of Wayne’s World. With some geekish qualities that other rock bands may hide behind their Ray Bans or cigarettes, Slyde are a fun band to watch and provide a breathe of fresh air to a typically broody metal scene. The fun side of Slyde was reconfirmed when I met the band again earlier this month, with Nicholas Favretto warming up for the show by doing various stretches on the dance floor… Stretches that are much needed given the amount of time that Slyde spend spinning their long-haired heads in windmills on stage.

Nathan Da Silva (guitar/vocals), Sarah Westbrook (keyboards) and bassist Nicholas Favretto spoke to me about their influences, politics, social consciousness, conspiracy theories and their ambitions as a band, including taking on Europe. The full video interview is below, together with live footage from the band’s tour earlier this month.____________________________________________________Slyde at The Hard Luck Bar - Gig Review and VideoBrian Banks, musicvice.comURL: http://www.musicvice.com/reviews/live/slyde-at-hard-luck-toronto-080112Published: January 8th, 2012

How apt that Canadian metal veterans Anvil should be standing at the back of the room at Hard Luck Bar, while on stage a big-dreaming young metal band called Slyde were entertaining the crowd, playing a show that could be seen as the next step of their own Anvil-like journey towards that eternal quest of all musicians: To make it.

Steve ‘Lips’ Kudlow and Robb Reiner’s lifetime struggle to pursue their own rockstar dreams was captured wonderfully in the documentary Anvil: The Story Of Anvil. The success of that film, that had metalheads more watery eyed than Metallica & Lou Reed’s Lulu (but for altogether different reasons), has led to Anvil being forever immortalised in Canadian music folklore, while the band has toured extensively since and recorded their last album This Is Thirteen at Dave Grohl’s Studio 606. A poster story for determination, if ever there was one.

Anvil’s story drew lots of comparisons to the infamous metal mockumentary Spinal Tap, and the fun side to Anvil’s character added to the charm. Slyde have a comparable charm factor; a burly, Pantera-mold of metal band, they are not. They play a metal show that is actually enjoyable to watch, and in the moment it’s hard not to nudge the cute blonde nearby and inquire, “Are Slyde not the greatest band ever?!” With big hair windmills, deft keyboard arpeggios, a six-string bass, guitar tapping, face-twisting passion… it’s all ridiculous. Frontman Nathan Da Silva’s guitar case for his Flying V is even cut to the shape of the Flying V itself. Brilliant. Throw some socially and environmentally conscious lyrics into the mix, and you have an unusual – and more than just a tad geeky – metal band. Slyde are a heck of a lot of fun to watch. Yet while they are fun, none of what they do is a joke – being fun and resembling something of a caricature of a metal band is just part of what Slyde are about. With their presentation and performance, the band make a real effort to entertain their crowd. And with half the group already having moved recently to Toronto from Ottawa, they are serious with their ambitions. What really matters is the music…

At Hard Luck, the level of musicianship of this band was damn impressive. Slyde are so articulate. The classically trained Sarah Westbrook is frequently the extra dimension as she links and sets-up the guitar and bass players for all their fluctuations as the music goes from melodic metal to high-octane metal, with a distinctly European feel. The reception in Toronto was warm but if a little standoffish. If this was a rock club in Scandinavia it may easily have been a different story. The fun, cheesy factor of their driving upbeat metal has a distinct Euro tang to it that would export well… Norway, Denmark, Sweden, Germany, are you reading?

Without getting too carried away with poetic license, there is a bit of a sad irony seeing a band pack up their gear to the stage backdrop emblazoned with the giant letters ‘Hard Luck’. It’s still early days for this group, with just one full-length recording under their belts. At the moment they lack the one or two A songs they need to really pull a following. Yet 48 hours after seeing this show, I was still enthusiastically regaling to friends about Slyde: With some bigger hooks, Slyde could have their fans singing their tunes after the show too.____________________________________________________Verbal Comment from Steve "Lips" Kudlow from AnvilOn Slyde's album, "Feed The Machine"January 7th 2012

"Great music! Interestingly I hear a very distinct Canadian sound that remind me of bands in the 70's like The Hunt, who were very instrument oriented rock with great higher vocal range work and keyboards...The melody aspect and song structures in all this music are very much part of the Canadian culture and [Slyde] has these qualities."____________________________________________________Slyde @ Coach and Horses, Windsor ON - Performance ReviewLauren Hedges, windsorite.caURL: http://windsorite.ca/2012/01/perpetuate-dreams-destruction-all-against-i-slyde-awake-to-a-dream-the-coach-and-horses/Published: January 2nd 2012

"Slyde is a rock group from Ottawa characterized by videogame-esque synth, and Nathan Da Silva’s vocals that are reminiscent of The Mars Volta’s Cedric Bixler Zavala. This is a set that really got the crowd going, with much head banging, fist pumping, and dancing. My third time seeing Slyde play, I can easily say that this was the best set I’ve had the privilege to enjoy."____________________________________________________Indie Week 2011 favourites: Slyde and PreeBrian Banks, musicvice.comURL: http://www.musicvice.com/reviews/live/indie-week-2011-faves-slyde-and-pree-221011Published: October 22nd, 2011

"...Even more fun were Slyde, a hard rock band from Ottawa, ON who pack a punch with ’80s synthesizer power. I saw them come on close to 2am in the morning at Hard Luck. Justus – another average metal pub band, nothing to write about – had left the stage as I saw the members of Slyde shifting their gear over. Something told me it was going to be worth sticking around to see this band: I saw a long haired metal looking dude with a 5-string bass, an Asian girl with some big keyboards and a dude who looked a bit like Garth from Wayne’s World with some rather nerdy glasses. As soon as Garth took off his glasses and pulled out a Flying V to set-up, I new some cool shit was going to go down. You don’t play a Flying V if you suck. My instincts proved correct. Slyde were absolutely brilliant. So much fun. The mix of chugging hard rock from the rhythm section was countered perfectly with some oh-so-fun upbeat synthesizer with a sound that was reminiscent of Van Halen and video game music. Completing the Slyde package is the front man who was a joy to watch, having so much fun on the stage while singing about the environment and politics with song titles including “Feed The Machine” and “Global Empires Fall”. Awesomely fun, hugely entertaining AND with some meaningful, poltical lyrics? That’s SLYDE! Mega. The atmosphere among the sparse crowd of about a dozen was giddy, and when Slyde finished their set the warmth shown to the band was incredible, as everyone, myself included, stepped up to shake hands and slap shoulders.Slyde will be the band I remember from Indie Week 2011. Thanks for making it worthwhile guys. Incredible set. Best band of the week by a mile."____________________________________________________Slyde: Feed The Machine Album ReviewAndrew Carver, Penny Black MusicURL: http://pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=8068Published: September 1st, 2011

Slyde are a young and earnest Ottawa foursome with a fondness for 1970s prog rock, heavy metal and modern rock. On ‘Feed The Machine’ they also seem to be channelling the dual spirits Rush.Though the acoustic kickoff to ‘Lament’ may not sound like much in the much-loved and oft-derided power trio’s ouevre, sentiments like “Today the choices we make/Decide our fate” make it clear where the quartet’s loyalties lie.Singer and guitarist Nathan Da Silva’s clear tenor carries out loud and clear over his guitar and Sarah Westbrook’s keyboards, with the well-enunciated lyrics off tunes like the title track and ‘Stand and Fight’ spelling out the bands views over sonics that may remind some listeners of bands like Tool and Therapy?The band punches things up a bit on the bouncy ‘Pull the Trigger’ and gives ‘Global Empires Fall’ a bleeping electronica intro and background, while the instrumental ‘Cries of the Earth’ takes an ambient turn and some slo-mo lead guitar.‘Feed The Machine’ should appeal to fans of bands like Neurosis and A Perfect Machine who like their music with some intellectual pretensions as well as skilled musicianship.____________________________________________________SOUND SEEKERS: Slyde Feeds The AngstFateema Sayani, Ottawa MagazineURL: http://www.ottawamagazine.com/culture/sound-seekers/2011/08/11/sound-seekers-slyde-feeds-the-angst/Published: August 11th, 2011

They have most of the metal-rock tropes down pat: hirsute head bangers with a fondness for clothes that are either threadbare, black, or both. The Ottawa four-piece called Slyde are pretty identifiable from a distance. Where they fall off the bandwagon is in their increasing efforts to add some sort of depth to their lyrics and compositions. On their new album, Feed the Machine, the twenty-somethings put their BMus degrees to work with mind-bending arrangements and lyrics that resonate with undergrad angst about what’s wrong with the world: Apology given too late, for actions of hate/Today, the choices we make, decide our fate. It’s not all heavy-hearted feelings though. The band keeps their Rush influence at the forefront with stadium-style anthems that just beg for their own lightshow. Skilled playing, roots in hardcore, an ear for a hook, not to mention electronic flourishes that add an indulgent quality to the songs, make this a band you can’t just dismiss as a bunch of kids coming out of the garage. There’s something there, even if the sound isn’t yet fully formed.Slyde CD release show. Monday, Aug. 15. 7 p.m. Rainbow Bistro, 76 Murray St.____________________________________________________Slyde - Hard Luck Bar [in Toronto] - Performance ReviewThe Lonely Vagabond, lonelyvagabond.comURL: http://lonelyvagabond.com/tag/slyde/Published: August 4th, 2011

"Forming a strong union between anthemic hard-rock and prog-metal, Ottawa-based Slyde lets the kids see how it’s done. Delivering heart-pounding guitar-riffs, solid drumming, tight energy, accented by quirky keyboard flourishes, this four-piece manages to utilize their metal/rock instincts while maintaining a melodic, soundscapish quality. Often compared to bands like Dream Theater and Rush, Slyde skillfully brings together a hard-edge with an inventive approach resulting in a strong live show."____________________________________________________Slyde @ The Blind Dog, Windsor ON - Performance ReviewLauren Hedges, windsorite.caURL: http://windsorite.ca/2011/07/slyde-diesel-junkies-final-stage-aerons-wake-omnisyn-the-blind-dog/Published: July 31st, 2011

"On tour from Ottawa for their new album “Feed the Machine”, video-game rockers Slyde brought their energetic and entertaining show to The Blind Dog on Friday, July 29. Video-game rock might sound a bit weird, so imagine if Coheed and Cambria mated with a Pac Man machine, or if Horse the Band were actually good. That’s these guys. They take modern sounding rock and add in the type of music you heard while playing Sonic on your Sega Genesis. Their performance was tight, and despite the heat (which I’m certain was worse under the stage lights) they kept the show fun as they made use of the stage while playing their hearts out to a less-than full house. The fact that they showed such enthusiasm, even to a crowd that was less than huge, pulled people into the music, and by the end of their set, everyone had lined up at the front of the stage and were asking for more."____________________________________________________Bluesfest 2011: Slyde - A Performance ReviewAndrew Carver, National Capital RockURL: http://natcaprock.blogspot.com/search/label/SlydePublished: July 13th, 2011 & November 8th, 2011

"...Then I cruised by the Subway Stage for a look and hear at Slyde. They sound quite young, thanks to singer-guitarist Nathan Da Silva's naif voice. I hear a big Rush influence - apparently I'm not the only one - thanks to the band's eye-on-society lyrics and proggy keyboards."

"On to the Subway Stage for a shot of Slyde. This is another Ottawa quartet on the heavy end of things, but with leanings toward prog rather than grunge. The young foursome get frequent Rush comparisons, and also cite Euro-combos like In Flames and Soilwork."____________________________________________________A Slyde away from hardcoreFateema Sayani, The Ottawa CitizenURL: http://www2.canada.com/ottawacitizen/news/artslife/story.html?id=7d73ffdd-a726-4f8f-9534-8b3cc9e5921aPublished: Thursday, August 21st, 2010

A couple of years ago, the Ottawa four-piece band Slyde made a conscious effort to climb out of obscurity. The band was playing hardcore, but felt that style of music wasn't accessible to a wider audience. They started on a new sound path and, once they found some direction, went into Barrhaven's Addictive Sound Studios to cut a few demos. The new style takes advantage of the band members' university degrees in music. It's technically snazzy and big on solos and rock geekery -- what you might get if you had a marathon Rush listening session. Songs cover the concerns of 20-somethings: nightclub culture, finding your place in life and friendships gone sour. Songs are rooted in hard rock. It's the keyboards and electronic flourishes that add a bit of an indulgent quality. The rising video-game style blippery adds another dimension to songs. The band hasn't dropped all the hallmarks of hardcore. "We have a heavy edge," front man Nathan Da Silva says. "We still headbang on stage and the high amount of energy from the stage is reflected back to the crowd -- and vice versa." The band just finished a 16-date Ontario tour, including a hometown stop at the Cisco Ottawa Bluesfest in July. They hit the road again, playing Ontario, Quebec and the Maritimes for the rest of the summer. See them at their sendoff show tonight.- Slyde, The Swingers, We Surrender, Social Cyanide, tonight, Zaphod Beeblebrox, 27 York St., 8 p.m., ____________________________________________________Slyde-ing and Rush-ing into BluesfestBrittany Findlay-Mitchell, Ottawa Life MagazinePublished: July 12th, 2010

Sunday, July 11th was a great day for Cisco Ottawa Bluesfest. There was a massive crowd to see Rush – some very dedicated fans waited from noon until nightfall to assure a good spot – and the space surrounding the MBNA Bank of America stage began to fill up two hours prior to the show. But those dedicated Rush fans certainly missed some other great bands; throughout the day, I saw Street Pharmacy, The Shane Dwight Band, and Coolooloosh, to name only a few. The highlight of my day at Bluesfest was Slyde’s performance at 1:30pm on the Hard Rock Café stage. The band consists of Nathan Da Silva on vocals/guitar, Sarah Westbrook on keyboard, Nick Favretto on bass – all three graduates with a BA in Music from Carleton – and their standout 17-year-old drummer Josh Ingram, a graduate of Brockville Collegiate Institute. I was honoured to have been able to meet each musician before the concert, and all were extremely personable and spoke with me before visiting with their families. Slyde featured songs from their new self-titled album that was released on July 2nd, which is on sale during their summer tour. Bands like Metric, Rush and Dream Theatre – all of whom they saw at Bluesfest this past week – inspire Slyde’s musical style. In an email to Ottawa Life, vocalist Da Silva said, “We're all pretty eclectic when it comes to musical influences.” Jane McGillvary (Da Silva’s mother) proudly told me that Westbrook is classically trained on piano, and it was certainly apparent during her incredible solos. Each musician did not fail to impress and Slyde played an energetic and entertaining show, even covering a Rush song at the end. There are a few tracks from their new album available for free download at http://www.slyde.ca/, including my personal favourite, Remember. Don’t miss this up-and-coming band next in Ottawa on August 19th at Zaphod Beeblebrox!____________________________________________________Slyde at Mavericks Bar, Ottawa - A Performance ReviewMatty Grant, MHB RadioURL: http://www.facebook.com/topic.php?uid=43240950795&topic=13934&post=69302Published: March 20th, 2010

"Slyde performed on March 20th, 2010 at Mavericks Bar in Ottawa, Ontario, Canada and I had the pleasure of seeing and experiencing a fully energized show. Nathan Da Silva (lead vocalist and Guitar) was extremely interactive with his audience and showed enough energy on stage to power the amplifiers himself. His vocal rages were in no other words but awesome. Sarah Westbrook (keys & Vocals) showed that the keyboards are still a very important part of any band by filling in those voids that not many instruments can do. Her vocals were a perfect harmonization along with Nathan. Nick Favretto (Bass), well what can I say – He plays Bass! Nick portrays a very strong presence on stage (usually not in one spot), his bass lines holding the tempo of all the songs performed. Josh Ingram (drums) was phenomenal on the beat and never missed a song to sing along on his own behind the band, he showed an extreme eagerness to belt the skins to a perfect beat.Slyde is not an act you can miss, if they are ever in your area you will not be sorry that you were able to see yet another reason why Canadian Artists kick some serious ass."____________________________________________________Slyde-ing into a New SoundATMA rebrands itself in bid to reach wider audienceFateema Sayani, The Ottawa CitizenURL: http://www2.canada.com/ottawacitizen/story.html?id=4d73efa6-8016-4e95-a0ea-455139cc67fcPublished: Thursday, August 27, 2009

ATMA made a nice dent in the local hardcore scene over its three-year existence but after a while, its members wanted to stop toiling in obscurity and play music that was accessible to a larger audience.Almost a year ago, bass player Nick Favretto, drummer Paul Gillespie and vocalist/guitarist Nathan Da Silva regrouped and recruited Sarah Westbrook to play keyboards in a new band called Slyde."We wanted to have a better chance of being recognized as opposed to being a niche genre where one out of 10 people like it," Da Silva says. After performing for three years as ATMA, the band added Sarah Westbrook, second from left, and formed Slyde. The rest of the band includes, from left, Nathan Gillespie, Nicholas Favretto and Nathan DaSilva. The band performs at Maverick's tonight. After performing for three years as ATMA, the band added Sarah Westbrook, second from left, and formed Slyde. The rest of the band includes, from left, Nathan Gillespie, Nicholas Favretto and Nathan DaSilva. The band performs at Maverick's tonight. The Ottawa upstart band riffs off its hardcore roots and works in alt-rock elements. The group of twentysomething university students isn't messing with the formula there.What you'll find on their seven-song demo (downloadable free from slyde.ca) are some well-constructed rock tunes. It's the creeping electronic influence and video game-style bleepery that makes Slyde more than just another group of longhairs with guitars. The band is at the start of a 15-day Ontario-Quebec corridor tour with Kingston metal band Fathom Ties. It's a chance to get more stage experience and work in the songs a little more. "We're in the cycle that most bands are," says Da Silva, a guitar teacher at Long & McQuade. "You rehearse, write, record the music and play. So, we're in the playing component of that cycle. Once we're done this small tour, we're going to go back in the studio and record a full-length." A new album will be a chance to focus the tunes and narrow down the eclectic Slyde style. For now, this is a band with great ideas that need more time to develop but it's worth taking note.Slyde plays Maverick's, 221 Rideau St., tonight, with Chasing Curiosity, Special Ops, Fathom Ties and Colfax, all ages, 7 p.m., $10.